Many reviews of hi fi kit will
not describe a system as producing three dimensional sound as the centrepiece
of their review, but I will hazard just such an argument. Many mainstream hi fi
journals will be even less likely to consider reviewing equipment that is
under-promoted in international markets. This is where my blog fills a niche.
Hearing is indeed believing that sound can indeed ‘paint’ invisible physical
presences in your midst. Listening to an orchestra can mean visualizing the
placing of violin sections, cellos, horns, harp and percussion to the extreme
left or right or in near left, near right etc. The singer is likewise placeable
left of centre, centre, or occasionally right of centre. Most of the classic
crooners and songbirds of the 1950s through 1970s apparently stand either at
the centre or in centre-left. I digress because I want to make clear that this
is what I mean by three dimensional sound. So this review will be as much about
the Da Vinci speakers as well as the amplifiers temporarily obtained for a test
session. The Da Vinci is the proverbial ‘Belle of the Ball’, graciously taking
turns with two fascinating partners on the ballroom floor: a solid state
Italian-made amplifier that packs a punch bigger than its size, and a delicately
designed China-made integrated valve amplifier. Two extreme partners, and one
breath-taking pair of artistic high end speakers! My test sources are the
classic BEL CANTO CD-2 reviewed two years ago on this blog, and the Shanling
CD-T2000 valve cd player.
Audio Analogue Primo
Settanta REV2.0
When I reviewed the Da Vinci
Emmespeakers in August 2015, I had described it as conveying ‘emotional
realism’ and a ‘3D-like sound’. Pairing with the under-reviewed Audio Analogue
Primo Settanta Rev 2.0, ‘three dimensional-ism’ is given its most explicit
definition to-date. The first review in English that I had come across on the
amplifier was by Dave Oliver of AVreview.co.uk from July 2004, reproduced on
the blog Jack’s Place, at http://www.jackvandijk.nl/hifi_audio_analogue_primo_review_1.php,
from which I quote the gist of the review:
“The overall sound of the pair together
[i.e. the amplifier and its partnering Primo CD player] is smooth, rich, and
perhaps even a tad milky - certainly extremely fluid. That's not to say that
it's in any way fuzzy, although it's perhaps not quite as sharp as it could be,
but there is an inviting richness to it that largely banishes listening
fatigue. Partnering with particularly warm speakers may not be the best move
unless you habitually listen in bed, with mug of cocoa in hand - you can have
too much of a good thing. But with detailed and even slightly bright speakers
you can get a marvellously rich and inviting sound that draws you in,
reproducing virtually all the detail you could want, while presenting it within
a lush and enticing soundstage.”
He was obviously struggling to
capture that audio magic that was emanating from the Primo Settanta. I will supplement
that by calling it ‘3D’ plus a lot more. Here are the official specifications
for the Primo amplifier:|
Dimensions
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2,9 x 8,3 x 15,7
"
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Weight
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16,5 Lbs
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Optional Phono
Preamplifier
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Line input
impedance
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40 KOhm
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Frequency
response
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> 100
KHz
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SNR
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94 dB
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Output power
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70W / 8Ohm
p.c.
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5 Line Inputs / 1
Phono Input (optional) + Tape Out
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Moreover, the manufacturer
described their distinguishing feature to be ‘high-performance circuits with
wide bandwidth and low feedback, separated circuit sections for each channel,
linear analogic power supply with a toroidal transformer and five different
stabilizing sections, high quality passive components, integrated-resistor
network volume controls with no buffer for maximum sound transparency.’ What
were the test discs: Ronnie Aldrich and the London Festival Orchestra on LOVE
STORY/THE WAY WE WERE’ on Vocalion, Reader’s Digest’s EASY LISTENING MAGIC 6CD
compilation and Diana Krall’s QUIET NIGHTS CD album.
What
were the results? The transparency was astounding. I concur with the reviewer
quoted above – the level of detailed reproduced is jaw-dropping, and the
soundstage was enticing. I didn’t however feel that the sound was overly rich
and ‘a tad milky’. I would say the Primo conveyed presence, immediacy and a
very lively sound. The ‘in your room’ experience was near sensational for an
amplifier of that size giving off 70 Watts. In fact, given the modest size of
my listening room, I hardly turned the volume beyond the 8 – 9 o’clock
position. And what a nice volume dial it is, especially at night when its
illuminated apple green dots on the circumference indicate the degree of
loudness without numbers. A small but nice touch indeed, considering that this
amplifier directs your attention to the music instead of to its looks – which
are very modest. A look at the insides through the slotted steel casing reveals
a gigantic toroidal transformer that generates a huge amount of heat
reminiscent of a valve amplifier. Power with lots of headroom indeed.
Those of you
familiar with the recording techniques of DECCA’s famous FFRR stereo sound will
enjoy how Ronnie Aldrich’s two pianos sounded through the Primo in tandem with
the Da Vincis: full bodied presentation with natural extended decay on his
every deliberate note. Aldrich’s piano is often underappreciated if one does
not hear it the way it was meant to sound: sonorous by being intentionally
ponderous in its registers. Aldrich ensures that every ivory note for instance
on slow tracks like ‘It’s Impossible’ and ‘Love Story’, ‘The Way We Were’, even
‘I’ll Have to Say I Love You in a Song’ have a distinctively drawn out melodic
colour to them. Ronnie Aldrich played in such a manner that he never sounded
like his contemporaries such as Ferrante and Teicher, Floyd Cramer, Peter Nero
and Clayderman. He was a master of letting the long slow note hang out. On the
faster pieces like ‘Mr Bojangles’ and ‘Rose Garden’, ‘My Sweet Lord’ or ‘Love’s
Theme’, the concert Aldrich manifests with dramatic flourishes that underline
the signature turns and changes of chords that make each melody memorable. All
this can be heard through the Primo – Da Vinci combination. In her turn, Diana
Krall makes a very precise sonic appearance in the listening room in a
holographic stage that is astounding in its placement of sound direction and
majesty. On ‘Walk on By’, I was particularly thrilled by Claus Ogerman’s
arrangement of slow horns as kind of instrumental lament within the Bacharach
inspired arrangement of a countermelody following the chorus line ‘walk on by’.
Krall’s piano playing too was very haunting in its sparse pattern. Every touch
of the ivories evoked the sadness of the lyrics in very poignant measure.
Finally, the
Reader’s Digest compilation found new life as a digital version of vinyl – and
I mean this in the best possible way. If vinyl could sound forever pristine,
the Primo reproduced it as such! From Geoff Love’s ‘Misty’ to Acker Bilk’s ‘I’m
in the Mood for Love’ to Ray Conniff’s ‘Moonlight Serenade’, every note carried
an emotional weight that was felt
rather than just listened to. This is the mark of a truly great amplifier matched
to equally magnificent speakers. It moves the soul and recalls what vinyl could
be if a record could last forever in spite of heat-induced erosion, climatic
conditions and friction from the stylus on a turntable…The Primo Settanta is
surely what sonic dreams are made of. A very minor ‘problem’ however is that
the removal of the buffer in sound reproduction results in a distinct level of background
‘hum’ reminiscent of valve amplifiers. The Da Vinci speakers cut down a huge
amount of it but a small residue is still audible – but very tolerable. In
fact, you’ll forget the ‘hum’ once the music gets underway. It was the same
when I tried pairing the Primo with the PATHOS Frontiers Prime five-way floor
standers. In fact, the PATHOS speakers revealed the power limitations of the
Primo when one played it at volumes comparable to when it was matched with the
Da Vincis – the ‘highs’ peaked in a very definite plateau – but not in an unpleasant
way - but the mid-range and lower registers in most of the test discs were
still riveting and devoid of listener fatigue. The conclusion could only be
that the Da Vincis were the choice
partner the Primo would proverbially ‘take to the dance floor’ in harmony.
The Jungson V99 Export/Luxury Edition Valve Integrated Amplifier
Valve
amplifiers traditionally appeal to the ‘techie’ more than the art collector.
The Jungson V99 Export Edition is more the latter – at least for me. According
to the only website selling it on the Web, the manufacturer took care to coat
and polish the three circular metal mounds housing the transformers to ensure
it would remain shiny for a very long time. Plant the constellation of 4 large
KT88 valves on the left and right positions, and cluster the remaining four ECC82
and ECC83 mini-valves in the middle rear section between the rear transformers and
you have a fascinating ‘hall of mirrors’ on the sturdy, raised chassis. Unlike
many other valve amplifiers, this chassis is raised on sturdy rubber stands by
nearly an inch. This architectural ensemble creates a visual energy field that
engages the sight and mind while the music plays. Turn down the lights in the
listening room and you will see the reflections of the lighted tubes mirrored
in the shiny metal mounds from virtually every direction you look at the kit.
For a moment, the sight tricks your imagination into thinking the amplifier
boasts 16 tubes instead. Plenty of light, plenty of warmth, and probably plenty
of power. Indeed, this sound of the V99 purrs power. The vintage car image is
reinforced by two very unusual, and removable, curved glass plates positioned
in front of the KT88 valves that prevent accidental contact between your
fingers and the burning hot valves in peak performance (see the pictures).
The grace of
that power grows on you very subtly. The sight of reflections echo
sentimentality, and the sound seconds
that sensation. Hear every possible song you have ever liked through it and
discover hidden textures you never realized existed on the original recordings.
This is the magic of V99. Every note has air surrounding it, and each performer
takes pride in their performance. To ensure you get the most out of every
recording, there is even a switch at the back that allows you to toggle between
ULR (ultrilinear) mode and TR (triode) mode. I asked the Singapore dealer of
Jungson Audio products (AUDIO88 at Adelphi Shopping Centre) and he said that TR
means the amplifier is operating at fully Class A configuration, albeit at
slightly lower power. I personally found that barring very ‘bad’ or ‘extreme’
recordings that occurred in sonically diffuse venues, the ULR mode was the
better performer. Anything that was originally recorded in analogue sounded
great in that mode. If jazz were recorded in closed-in intimate venues like
clubs, bars and small theatrettes, the TR mode would bring the soloist several
feet closer to you! The remote control for the V99 ought also to be praised for
its simplicity and big round steel buttons for MODE, VOL +, VOL -. A downside
for some audiophiles might be the lack of a Phono stage and jack. Here are the
specifications of the V99:
Power
Output (RMS):
40W x 2 (Ultralinear mode),
22W x 2 (Triode mode)
THD: ≤1% (1
kHz/1W)
S/N
ratio: ≥
95db
Frequency
response: 18
Hz - 38 kHz (± 0.5db)
Input
impedance: 100Kohms
Output
load impedance: 4-8ohms
Input
sensitivity: 260mV
Following on the heels of the
Audio Analogue Primo test, I was pleasantly surprised at how the V99 managed to
transform the music – not by a lot – but enough to make a difference to hearing.
Ronnie Aldrich was in the room, and his piano never sounded flabby or draggy in
every note. Instead, every note contained a purposeful flourish. If I didn’t
have any more amplifiers to review for sheer pleasure, I would conclude that
this is the amplifier for playing back the original analogue sound of Mr
Aldrich with the London Festival Orchestra. Moreover, the V99 seemed to have
vanquished all of the standing waves with the aid of the Da Vinci speakers. What
about Diana Krall’s sound? She was inches closer to the listener. It makes you
realise her ‘magic’ lay in her vocal technique of breathing and pushing out the
last syllable as a prolonged puff of air. Listen to ‘Quiet Nights’, ‘I’ve Grown
Accustomed to her face’ and ‘So Nice’ and you’ll be convinced this album isn’t
like what the critics say it is. It is tender, emotional, expressive,
hauntingly in a lament – the way good attitude-driven jazz does in sonically
transcribing a mood. The Reader’s Digest compilation sparkled likewise. Manuel’s
wall to wall strings and violas were revealed in arrays of sonic depth. Ray
Conniff’s brass section had a whole lot more air and space around them and
Henry Mancini’s piano work recalled the qualities of ivory beneath the bonnet
of a grand piano. Acker Bilk, was literally breathing through the clarinet,
with the human whistle-like quality of his instrument fully in bloom. Very
pleasant and very smooth on ‘I’m in the Mood for Love’ and ‘Auf Wiedersehn
Sweetheart’.
A Happy Dilemma – Did the Da Vincis ‘equalize’ the competition?
At
the end of the day, if I had the space & the cash, I would have liked to
keep both amplifiers. The Primo
Settanta had just about all the attributes of a high powered valve amplifier,
and a grace to match, minus the immense heat from the valves. To me, it was revealing
its fullest colours with the Da Vincis. I should add at the end of this review that
I had previously tested it on a Focus Audio FS78s, Totem Sttafs and Revel F32s.
With these partners, the Primo proved itself a very powerful sports car with some graceful curves in sight and
sensitive to the point of magnifying standing waves if the room was under-sized.
With the Da Vincis’ circular box design, lifted way off the floor, the Primo
showed off the proverbial polish of a newly discovered debutante at the Ball:
capable of making music sound like almost the very best valve amplifiers. It
was not silky in a conventional sense – but more live, three dimensional and a
lot of ‘living presence’ in your listening space. Power was on display, but
graceful power. With the Jungson V99, it was also graceful power that sounded
more like ‘grace’ over ‘power’. It is like a musical friend that grows on you
if you are willing to accept that music is not always about putting out loads
of power. Schedule a listening session if you have a dealer in your
neighbourhood, the V99 is probably one huge hidden secret of Chinese high end
audio, aside from the Shanling range. And don’t believe all the bad press on
online forums about Jungson products – there are good dealers out there
offering a great product and solid after sales support.
And
the final note ought to go to the Da Vinci Emmespeakers: bravo on equalizing
the competition between two very fine amplifiers!
ALAN21 Dec 2015
